Nayika Bheda in Kathak

by Chetana Jyotishi

Nayika Bheda in Kathak deals with various types of heroines with respect to their mental setup and apparent behaviour. Women are ever unpredictable. A close study of their behavior right from an early age can provide a clue to dealing with them. Various female characters in Natya, ie Drama, revolve around her temperament, and attitude towards life as a whole. Drama attempts to portray true picture of women hitherto called Nayika. Kathak dance is rich in this respect. It presents various facets of Nayika through a number of Kavittas, Thumaris and the like. However, contrary to general notion, Kathak leads the viewer to higher and sacred levels of Sringara Rasa.

Table of Contents:

• Introduction
• Diacritical Marks
• Nayika Bheda in Samskrta Literature
  1. Etymology
  2. Nayika Bheda in Natya-Sastra
  3. Nayika Bheda in Agni Purana
  4. Nayika Bheda in Kavyalankara
  5. Nayika Bheda in Dasarupakam
  6. Nayika Bheda in Sarasvati Kanthabharana
  7. Nayika Bheda in Natya Darpana
  8. Nayika Bheda in Bhava Prakasanam
  9. Nayika Bheda in Rasa Manjari
  10. Nayika Bheda in Sahitya Darpana
  11. Nayika Bheda in Ujjvala-Nilamani
• Nayika Bheda in Hindi Literature
  1. Evolution of Radha-Krsna Keli Varnana
  2. The Acarya of Riti Period
  3. Sub-Division of Mugdha
  4. Sub-Division of Madhya and Pragalbha
  5. Parakiya Nayika
  6. Astanayika
• Nayika Bheda in Traditional Kathak
  1. Relationship of Sangita Vis-a-Vis Sahitya
  2. The Character of Nrtta and Nrtya : Place of Pada Therein
  3. Vakyarthabhinaya Prevails Over Padarthabhinaya
  4. Dance Related Compositions
  5. Sudha Paddhati
  6. Desi Paddhati
  7. Perani Paddhati
  8. The Astapadi
  9. Gita in Various Dance Forms
  10. Collaboratory Literature of Kathak Dance
  11. Nayika Bheda in Kathak Prayoga
  12. Kathak is Performed in Dhruvapada and Khayala
  13. Abhinaya in Kathak
  14. Music Education Today
  15. Important Natya Sastriya Directions Useful for Abhinaya
  16. Abhinaya of Rati, the Sthayi Bhava of Srngara
  17. Sancari Bhavas and the Method of their Abhinaya
  18. Satvika Bhavas and their Abhinaya
  19. Angaja Alankaras of Women
  20. Natural Alankaras of Women
  21. Indriyabhinaya (Acting by the Faculty of Senses)
  22. Three Bhavas of Mana
  23. Cesta as of Kulaja in Love
  24. States of a Woman in Love When She is Not Able to Meet her Lover
  25. Analytical Consideration of Some of the Musical Patterns Relating to Nayika Bheda
• Compositions Related to Nayika Bheda in Kathak
• Epilogue.

About the Author:

Born on 18th December 1961, Dr. Chetana Jyotishi, received training of Kathak from Late Guru Kalyanadas Mahant and Guru Ramlal Ji of Raigarh Darbar in Guru Sisya Parampara. She obtained her master’s degree in Kathak Dance under the able discipleship of Late Prof. P.D. Asirvadam and Prof. Mandavi Singh, topping the University Merit List in 1988. Earlier she had cleared B.Ed, in 1986 with flying colours. She was awarded the degree of Ph.D. in 1996 under the distinguished guidance of Late Prof. Premlata Sarma and received JRF & SRF for the same. She received The Senior Fellowship of Ministry of Culture, Government of India in the year 2005.

An exhaustive text titled “Kathak Kalpadruma” was published in 2002. The Sarigita Nataka Akademi, New Delhi entrusted her and Dr. Anil Beohar with an abridge translation of the Gujrati text on Music “Sangit Kaladhar”. The book has been published by Sangita Nataka Akademi, New Delhi, in 2006. Apart from writing thought provoking books, she has to her credit a good number of stage performances on various prestigious forums of the country.